Tag Archives: Joanne Greenberg

Based on the semi-autobiographical novel by Joanne Greenberg, which was written under the pen name of Hannah Green, the story focuses on Deborah (Kathleen Quinlan) a 16 year-old who is put into a mental institution during the 1950’s by her parents (Ben Piazza, Lorraine Gary). A pretend secret kingdom that used to be a childhood fantasy has now completely taken over her life and she is unable to deal with reality. At the institution she works with a sympathetic therapist named Dr. Fried (Bibi Andersson) who tries to get Deborah out of her fantasy world an back into the real one.

The film was produced by Roger Corman better known for his cheap, sleazy drive-in fare, so seeing him try to take the helm by producing a serious picture is a concern since exploitation always seemed to be his foray, but with the then recent success of One Flew Over the Cuckoo’s Nest he felt stories with a mental institution theme was a potential money-maker. The production values though right from the start look pretty cheap especially when compared to the Milos Foreman film making this a very weak cousin to the 1975 classic.

The producers made many changes from its source novel much to the consternation of the book’s author who was never consulted during the making of it and who ended up disliking this film version immensely. One of the biggest difference is that the film completely omits the antisemitism, which the filmmakers felt was too much of a ‘hot button topic’, that the main character in the book had to deal with and instead blames her mental health problems solely on her bout with cancer.

For me though the biggest issue centers more on the recreation of Deborah’s make-believe, mystical world which she calls The Kingdom of Yr. In the book the kingdom starts out as a beautiful magical place that slowly turns ugly and threatening while in the movie it’s portrayed as scary from the very beginning, which is confusing as there’s no explanation for how the whole thing started. The sound of the whispering voices going on inside Deborah’s head is creepy, but sight of the characters inside the kingdom, which was played by members of Oingo Boingo looks cheesy and like the singers from the Village People, which gives the film an unintended camp feeling. Instead the characters should’ve been captured from a distance where they were seen as ominous shadowy figures whose faces were never shown.

Despite these drawbacks I still found myself caught-up in much of the drama especially the cruelty that Deborah and her fellow patients received at the hands of an abusive orderly played by Reni Santoni. Unfortunately some of the scenes showing Deborah interacting with the other mentally-ill people in the hospital gets watered-down by having a lighthearted melody played during it, which gives off the idea that this is ‘lightly comical’ instead of the gritty no-holds-barred drama that it should be.

Quinlan gives a great performance, possibly the best of her career and I particularly enjoyed the way she uses her expressive blue eyes to convey her inner madness and turmoil. You also see her as a relatable human being who you want to see get well as opposed to being some sort of ‘freak’. Susan Tyrrell is great in support as one of the patients as well as Martine Bartlett who plays another troubled patient and who starred just a year earlier as the cruel mother in Sybil, which was a TV-movie with a similar theme. Casting Bibi Andersson though as the psychiatrist was for me a distraction since she also played one in Persona, which was her signature role and therefore I couldn’t separate her from that one.

In 2004 the novel was turned into a play under the full cooperation of Greenberg who acted as a consultant. The antisemitism from the book was incorporated into the play as well as several other things that had been omitted making me believe that a remake based on the play should be given a much needed green-light as this film unfortunately is adequate, but not great.